Borderlands 3

by Thomas F. Monteleone (Ed. )

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  When I confronted her with her own dread, she refused to own up to it. "Whoever said graveyards were romantic?" she demanded. "Whoever said I had to go digging up bones just because I lust after Venal St. Claire?" (Venal St. Claire was a musician, one of the stick-thin, mourning-shrouded beauties that adorned the walls of Rosalie's room. I saw no evidence that she lusted after him or anyone else.) "I just wear black so that all my clothes will match," she told me solemnly, as if she expected me to believe it. "So I won't have to think about what to put on when I get up in the morning."

  "But you don't get up in the morning."

  "In the evening, then. You know what I mean." She tipped her head back and tongued the last drop of whiskey out of her glass. It was the most erotic thing I had ever seen her do. I ran my finger in among the smooth folds of her intestines. A momentary look of discomfort crossed her face, as if she had suffered a gas pain—attributable to the rotgut whiskey, no doubt. But she would not pursue the subject further.

  So I watched her drink until she passed out, her brittle hair fanned across her pillow, the corner of her mouth drooling a tiny thread of spit onto her black silk coverlet. Then I went into her head. This was not a thing I liked to do often—on occasion I had noticed her looking askance at me the morning after, as if she remembered seeing me in her dreams and wondered how I had got there. If I could persuade Rosalie to dig up one cache of loot—just one—our troubles would end. She would never have to work again, and I could have her with me all the time. But first I had to find her fear. Until I knew what it was, and could figure out how to charm my way around it, my treasures were going to stay buried in black bayou mud.

  So within moments I was sunk deep in the spongy tissue of Rosalie's brain, sifting through her childhood memories as if they were gold coins I had just lifted off a Spanish galleon. I thought I could smell the whiskey that clouded her dreams, a stinging mist.

  I found it more quickly than I expected to. I had reminded Rosalie of her fear, and now—because she would not let her conscious mind remember—her unconscious mind was dreaming of it. For an instant I teetered on the edge of wakefulness; I was dimly aware of the room around me, the heavy furniture and flocked black walls. Then it all swam away as I fell headlong into Rosalie's childhood dream.

  A South Louisiana village, built at the confluence of a hundred streams and rivulets. Streets of dirt and crushed oyster-shells, houses built on pilings to keep the water from lapping up onto the neat, brightly painted porches. Shrimp nets draped over railings, stiffening with salt, at some houses; crab traps stacked up to the roof at others. Cajun country.

  (Hard Luck Rosalie a Cajun girl, she who claimed she had never set foot in Louisiana before! Mon petite chou! "Smith" indeed!)

  On one porch a young girl dressed in a T-shirt and a home-sewn skirt of fresh calico perches on a case of empty beer bottles. The tender points of her breasts can be seen through the thin fabric of the T-shirt. A medallion gleams at the hollow of her throat, a tiny saint frozen in silver. She is perhaps twelve. It can only be her mama beside her, a large regal-faced woman with a crown of teased and fluffed black hair. The mama is peeling crawfish. She saves the heads in a coffee can and throws the other pickings to some speckled chickens scratching in the part of the dirt yard that is not flooded. The water is as high as Mama has ever seen it.

  The young girl has a can of Coca Cola, but she hasn't drunk much of it. She is worried about something: it can be seen in the slump of her shoulders, in the sprawl of her thin legs beneath the calico skirt. Several times her eyes shimmer with tears she is just able to control. When she looks up, it becomes clear that she is older than she appeared at first, thirteen or fourteen. An air of naivete, an awkwardness of limb and gesture, makes her seem younger. She fidgets and at last says, "Mama?"

  "What is it, Rosie?" The mother's voice seems a beat too slow; it catches in her throat and drags itself reluctantly out past her lips.

  "Mama—is Theophile still under the ground?"

  (There is a gap in the dream here, or rather in my awareness of it. I do not know who Theophile is—a childhood friend perhaps. More likely a brother; in a Cajun family there is no such thing as an only child. The question disturbs me, and I feel Rosalie slipping from me momentarily. Then the dream continues, inexorable, and I am pulled back in.)

  Mama struggles to remain calm. Her shoulders bow and her heavy breasts sag against her belly. The stoic expression on her face crumbles a little. "No, Rosie," she says at last. "Theophile's grave is empty. He's gone up to Heaven, him."

  "Then he wouldn't be there if I looked?"

  (All at once I am able to recognize my Rosalie in the face of this blossoming girl. The intelligent dark eyes, the quick mind behind them undulled by whiskey and time.)

  Mama is silent, searching for an answer that will both satisfy and comfort. But a bayou storm has been blowing up, and it arrives suddenly, as they will: thunder rolls across the sky, the air is suddenly alive with invisible sparks. Then the rain comes down in a solid torrent. The speckled chickens scramble under the porch, complaining. Within seconds the yard in front of the house is a sea of mud. It has rained like this every day for a month. It is the wettest spring anyone has ever seen in this part of the bayou.

  "You ain't goin' anywhere in this flood," Mama says. The relief is evident in her voice. She shoos the girl inside and hurries around the house to take washing off the line, though the faded cotton dresses and patched denim trousers are already soaked through.

  Inside the warm little house, Rosalie sits at the kitchen window watching rain hammer down on the bayou, and she wonders.

  The storm lasts all night. Lying in her bed, Rosalie hears the rain on the roof; she hears branches creaking and lashing in the wind. But she is used to thunderstorms, and she pays no attention to this one. She is thinking of a shed in the side yard, where her father's old crab traps and tools are kept. She knows there is a shovel in there. She knows where the key is.

  The storm ends an hour before dawn, and she is ready.

  It is her own death she is worried about, of course, not that of Theophile (whoever he may be). She is at the age where her curiosity about the weakness of the flesh outweighs her fear of it. She thinks of him under the ground and she has to know whether he is really there. Has he ascended to Heaven or is he still in his grave, rotting? Whatever she finds, it cannot be worse than the thing she has imagined.

  (So I think at the time.)

  Rosalie is not feeling entirely sane as she eases out of the silent house, filches her father's shovel, and creeps through the dark village to the graveyard. She likes to go barefoot, and the soles of her feet are hard enough to walk over the broken edges of the glittering wet oyster-shells, but she knows you have to wear shoes after a heavy rain or worms might eat their way into your feet. So she slogs through the mud in her soaked sneakers, refusing to think about what she is going to do.

  It is still too dark to see, but Rosalie knows her way by heart through these village streets. Soon her hand finds the rusty iron gate of the graveyard, and it ratchets open at her touch. She winces at the harsh sound in the predawn silence, but there is no one around to hear.

  At least, no one who can hear.

  The crude silhouettes of headstones stab into the inky sky. Few families in the village can afford a carved marker; they lash two sticks together in the shape of a rough cross, or they hew their own stone out of granite if they can get a piece. Rosalie feels her way through a forest of jagged, irregular memorials to the dead. She knows some of them are only hand-lettered oak boards wedged into the ground. The shadows at the base of each marker are wet, shimmering. Foul mud sucks at her feet. She tells herself the smell is only stagnant water. In places the ground feels slick and lumpy; she cannot see what she is stepping on.

  But when she comes near the stone she seeks, she can see it. For it is the finest stone in the graveyard, carved of moon-pale marble that seems to pull all light into its milky d
epths. His family had it made in New Orleans, spending what was probably their life's savings. The chiseled letters are as concise as razor cuts. Rosalie cannot see them, but she knows their every crevice and shadow. Only his name, stark and cold; no dates, no inscriptions, as if the family's grief was so great that they could not bear to say anything about him. Just inscribe it with his name and leave him there.

  The plot of earth at the base of the stone is not visible, but she knows it all too well, a barren, muddy rectangle. There has been no time for grass or weeds to grow upon it; he has only been buried a fortnight, and the few sprouts that tried to come up have been beaten back down by the rain. But can he really be under there, shut up in a box, his lithe body bloating and bursting, his wonderful face and hands beginning to decay?

  Rosalie steps forward, hand extended to touch the letters of his name: THEOPHILE THIBODEAUX. As she thinks—or dreams—the name, her fingers poised to trace its marble contours, an image fills her head, a jumble of sensations intense and erotic. A boy older than Rosalie, perhaps seventeen: a sharp pale face, too thin to be called handsome, but surely compelling; a curtain of long sleek black hair half-hiding eyes of fierce, burning azure. Theophile!

  (All at once it is as if Rosalie's consciousness has merged completely with mine. My heart twists with a young girl's love and lust for this spitfire Cajun boy. I am dimly aware of Rosalie's drunken twenty-year-old body asleep on her bed, her feminine viscera twitching at the memory of him. Oh, how he touched her—Oh, how he tasted her!)

  She had known it was wrong in the eyes of God. Her mama had raised her to be a good girl. But the evenings she had spent with Theophile after dances and church socials, sitting on an empty dock with his arm around her shoulders, leaning into the warm hollow of his chest—that could not be wrong. After a week of knowing her he had begun to show her the things he wrote on his ink-blackened relic of an Olympia typewriter, poems and stories, songs of the swamp. And that could not be wrong.

  And the night they had sneaked out of their houses to meet, the night in the empty boathouse near Theophile's home—that could not be wrong either. They had begun only kissing, but the kisses grew too hot, too wild—Rosalie felt her insides boiling. Theophile answered her heat with his own. She felt him lifting the hem of her skirt and—carefully, almost reverently—sliding off her cotton panties. Then he was stroking the dark down between her legs, teasing her with the very tips of his fingers, rubbing faster and deeper until she felt like a blossom about to burst with sweet nectar. Then he parted her legs wider and bent to kiss her there as tenderly as he had kissed her mouth. His tongue was soft yet rough, like a soapy washcloth, and Rosalie had thought her young body would die with the pleasure of it. Then, slowly, Theophile was easing himself into her, and yes, she wanted him there, and yes, she was clutching at his back, pulling him farther in, refusing to heed the sharp pain of first entry. He rested inside her, barely moving; he lowered his head to kiss her sore developing nipples, and Rosalie felt the power of all womanhood shudder through her. This could not be wrong.

  With the memories fixed firmly in her mind she takes another step toward his headstone. The ground crumbles away beneath her feet, and she falls headlong into her lover's grave.

  The shovel whacks her across the spine. The rotten smell billows around her, heavy and ripe: spoiling meat, rancid fat, a sweetish-sickly odor. The fall stuns her. She struggles in the gritty muck, spits it out of her mouth.

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  Then the first pale light of dawn breaks across the sky, and Rosalie stares into the ruined face of Theophile.

  (Now her memories flooded over me like the tide. Some time after they had started meeting in the boathouse she began to feel sick all the time; the heat made her listless. Her monthly blood, which had been coming for only a year, stopped. Mama took her into the next town to see a doctor, and he confirmed what Rosalie had already dreaded: she was going to have Theophile's baby.)

  Her papa was not a hard man, nor cruel. But he had been raised in the bosom of the Church, and he had learned to measure his own worth by the honor of his family. Theophile never knew his Rosalie was pregnant. Rosalie's father waited for him in the boathouse one night. He stepped in holding a new sheaf of poems, and Papa's deer shot caught him across the chest and belly, a hundred tiny black eyes weeping red tears.

  Papa was locked up in the county jail now and Mama said that soon he would go someplace even worse, someplace where they could never see him again. Mama said it wasn't Rosalie's fault, but Rosalie could see in her eyes that it was.

  It has been the wettest spring anyone can remember, a month of steady rains. The water table in Louisiana bayou country is already so high that a hole will began to draw water at a depth of two feet or less. All this spring the table has risen steadily, soaking the ground, drowning grass and flowers, making a morass of the sweet swamp earth. Cattails have sprung up near at the edge of the graveyard. But the storm last night pushed the groundwater to saturation point and beyond. The wealthy folk of New Orleans bury their dead in vaults above ground to protect them from this very danger. But no one here can afford a marble vault, or even a brick one.

  And the village graveyard has flooded at last.

  Some of the things that have floated to the surface are little more than bone. Others are swollen to three or four times their size, gassy mounds of decomposed flesh rising like islands from the mud; some of these have silk flower petals stuck to them like obscene decorations. Flies rise lazily, then descend again in glittering, circling clouds. Here are mired the warped boards of coffins split open by the water's relentless pull. There floats the plaster figurine of a saint, his face and the color of his robes washed away by rain. Yawning eyeless faces thrust out of stagnant pools, seeming to gasp for breath. Rotting hands unfold like blighted tiger lilies. Every drop of water, every inch of earth in the graveyard is foul with the effluvium of the dead.

  But Rosalie can only see the face thrust into hers, the body crushed beneath her own. Theophile's eyes have fallen back into their sockets and his mouth is open; his tongue is gone. She sees thin white worms teeming in the passage of his throat. His nostrils are widening black holes beginning to encroach upon the greenish flesh of his cheeks. His sleek hair is almost gone; the few strands left are thin and scummy, nibbled by waterbugs. (Sitting on the dock, Rosalie and Theophile used to spit into the water and watch the shiny black beetles swarm around the white gobs; Theophile had told her they would eat hair and toenails too.) In places she can see the glistening dome of his skull. The skull behind the dear face; the skull that cradled the thoughts and dreams...

  She thinks of the shovel she brought and wonders what she meant to do with it. Did she want to see Theophile like this? Or had she really expected to find his grave empty, his fine young body gone fresh and whole to God?

  No. She had only wanted to know where he was. Because she had nothing left of him—his family would give her no poems, no lock of hair. And now she had even lost his seed.

  (The dogs ran Papa to earth in the swamp where he had hidden and the men dragged him off to jail. As they led him toward the police car, Theophile's mother ran up to him and spat in his face. Papa was handcuffed and could not wipe himself; he only stood there with the sour spit of sorrow running down his cheeks, and his eyes looked confused, as if he was unsure just what he had done.)

  Mama made Rosalie sleep in bed with her that night. But when Rosalie woke up the next morning Mama was gone; there was only a note saying she would be back before sundown. Sure enough, she straggled in with the afternoon's last light. She had spent the whole day in the swamp. Her face was scratched and sweaty, the cuffs of her jeans caked with mud.

  Mama had brought back a basketful of herbs. She didn't fix dinner, but instead spent the evening boiling the plants down to a thin syrup. They exuded a bitter, stinging scent as they cooked. The potion sat cooling until the next night. Then Mama made Rosalie drink it all down.

  It was the worst pain she had ever f
elt. She thought her intestines and her womb and the bones of her pelvis were being wrung in a giant merciless fist. When the bleeding started she thought her very insides were dissolving. There were thick clots and ragged shreds of tissue in the blood.

  "It won't damage you," Mama told her, "and it will be over by morning."

  True to Mama's word, just before dawn Rosalie felt something solid being squeezed out of her. She knew she was losing the last of Theophile. She tried to clamp the walls of her vagina around it, to keep him inside her as long as she could. But the thing was slick and formless, and it slid easily onto the towel Mama had spread between her legs. Mama gathered the towel up quickly and would not let Rosalie see what was inside.

  Rosalie heard the toilet flush once, then twice. Her womb and the muscles of her abdomen felt as if they had gone through Mama's kitchen grater. But the pain was nothing compared to the emptiness she felt in her heart.

  The sky is growing lighter, showing her more of the graveyard around her: the corpses borne on the rising water, the maggot-ridden mud. Theophile's face yawns into hers. Rosalie struggles against him and feels his sodden flesh give beneath her weight. She is beyond recognizing her love now. She is frantic; she fights him. Her hand strikes his belly and punches in up to the wrist.

  Then suddenly Theophile's body opens like a flower made of carrion, and she sinks into him. Her elbows are trapped in the brittle cage of his ribs. Her face is pressed into the bitter soup of his organs. Rosalie whips her head to one side. Her face is a mask of putrescence. It is in her hair, her nostrils; it films her eyes. She is drowning in the body that once gave her sustenance. She opens her mouth to scream and feels things squirming in between her teeth.